Saturday, October 29, 2011

PreambleOver the past decade or so, I have created a new signature technique named MultiSperse Dye Sublimation (MSDS). This technique employs disperse dyes and involves hand printing multiple resists and multiple overprinted layers, employing numerous color plates and plant materials. The completed works are rich in color, light, shade, contrast, movement, depth, and moreover, yield a three-dimensional quality to the finished printed artworks. For your convenience, I have listed the following posts on this blogspot that also features this technique using cloth as the medium.When Rainforests RuledMerge And FlowFlames UnfurlingSelected Disperse Dye ArtClothsSequestration of CO2

Nothing like this project had ever been attempted in Australia as far as we know. It was an interesting and awesome challenge and an honor to be a participant in such an exciting and historical venture. I was looking forward to this challenge with great relish!

All participating portfolio artists would also receive a set of 20 works, with the other 20 portfolios being donated to major Regional and State Galleries and Libraries throughout Australia.

CriteriaArtists were asked to make 40 x A4 unique state artworks using any form of print media. These artworks had to be a signature work, consistent with the artists practice. The size of each artwork had to be A4 in size (i.e. 29.7 cm long x 21 cm wide). All 40 works had to be different in some respect and the 40 artworks, when pieced together, had to rebuild an artwork in its own right. Artists were asked to use acid free materials and long lasting archival inks. Artists could use textile materials or different papers and media.

For example, some artists would have the same dominate image in all 40 prints on paper, but change one critical factor in each, thereby changing the act of engagement. Others would produce a video and extract 40 frames, which when put together would render the video itself.

My Interpretation Of The CriteriaWhat I wanted to do was slightly different to these approaches. I saw in my minds eye a mosaic in which each tile was self contained, but only when all tiles were put together would the mosaic be revealed. More than that, I wanted the act of engagement of the mosaic to be identical to the act of engagement of each tile, even though all were unique states. Knowing that each tile would be separated perhaps forever, made it more important that I hold fast to my interpretation of the criteria. It would be a miracle if all these tiles of mine would ever be re-constituted.

Artist Statement: Wangi’s DjirangThe aboriginal word “Djirang” translates as “leaves”. This series of unique state prints captures native leaves and flora found in the Wangi Wangi area of Australia (where I live). It is part of an on-going print series, which celebrates the uniqueness of Australia’s flora and pristine rain forest environments, and in doing so, raises our consciousness on how fragile these environs are to climate change and to human clearage due to the population explosion.

TechniqueOver the last decade and more, I have been experimenting with hand printing techniques using disperse dyes on synthetic/polyester fabrics. These experiments have led to one of my new signature techniques, which I have developed and termed, MultiSperse Dye Sublimation (MSDS). I have taught my MSDS technique at national and international conferences and textile forums, textile/print groups and within university courses.

Summary Of ArtCloth WorkOn the back of each unique state print was an image of the original holistic printed artwork. The original ArtCloth measured 3.15 meters in width x 80.4 cm in length. The unique state printed artworks (each tile) could be re-constituted to one holistic panel of 40 ArtCloth works.

Individual TilesNos 1/40 - 15/40 are positioned in a vertical side-by-side format.
Nos 16/40 - 30/40 are repositioned in a vertical side-by-side format directly under the first row of prints.
Nos 31/40 - 40/40 are repositioned in a horizontal side-by-side format directly under the second row of prints (working from left to right).

Wangi’s Djirang - The holistic ArtCloth work showing individual panels, trimmed to A4 size. Each panel was sensitively and strategically designed so that each could be viewed as an individual ArtCloth print in its own right.

Saturday, October 22, 2011

PreambleThis blogspot is not only devoted to ArtCloth and all things fabric (e.g. wearables) but also to limited edition prints on paper and artists' printmakers books. I have listed below for your convenience my contribution to this artistic genre.

In 2010, I selected 21 professional print media artists to undertake a project in unique state media. Each artist was requested to make 40 x A4 art works as unique state prints to be collated into 40 unique state portfolios. From the 40 portfolios 21 artists would receive one portfolio each and 19 portfolios would be donated to a variety of Australian and International print collections.

I selected artists who have worked with my two organisations - Partners in Print and Exchange Partners in Print Media over the past 20 years. I regard all the Unique State artists as professionals in the arts of polymedia and the ideologies which go with being a long term media artists. Marian Crawford, Jodi Heffernan, Anne Marie Hunter, Jan Palethorpe, Bridget Hillebrand. Heather Hesterman, Richard Harding and Bob Stewart have all worked on large and small scale original unique state works over the past 20 years. To give the portfolios depth of polymedia I selected photographers and digital artists such as Michael Prior, Elizabeth Rodda, Julie Lancaster, Michael Zschech, Jim Brodie, Jutta Pryor and Gerard Morrissey who have used sequence photography, media clippings and video to produce 40 frames of images - each frame unique. Consideration was also given to artists using fabric such as Rebecca Mayo and Marie-Therese Wisniowski. Further consideration was given to artists who have used multiple combinations of media such as Rebecca Beardmore, Cherie Winter and Paula McLouglin.

Printmaking and polymedia arts have a representation in both reproduction and original production. Over the past 50 years Australian artists have been experimenting with a huge variety of historical and recent methods and materials in fine art institutions and workshops. In the 1960s printmaking was introduced into the fine art universities to provide artists access to commercial reproductive methods. Photography and the graphic arts were also introduced as professional fine art and commercial courses in the 1960 – 70s period extending the domains of polymedia culture.

From 15th century wood engraving to the latest phone applications most communications methods are regarded as practice in fine art circles. Many artists within the history of arts have produced work with association to original fine arts and reproductive commercial graphic reproductions. Combinations of polymedia methods and personal ideologies have been practiced by fine artists such as Andy Warhol, Damian Hirst and Shepard Fairly resulting in the finest art of the past century. Polymedia arts have retained a strong following and will grow even more popular with time. We live in times where media is prolific, we use it every day in many ways, and hopefully now as artists we can celebrate and interact with media to produce works of art which push the boundaries and domains of our imagination.

As this is the last exchange portfolio under the name of Partners in Print I would like to thank all the artists, coordinators, curators and institutions who have supported and been involved with these initiatives from 1991 – 2011. Particular thanks to all the “Unique State” artists for making the “Unique State” portfolios possible. I have now registered the name Polymedia and will resume print media projects under this name in 2012. I look forward to working with you all again in the future.

Title: I don’t want to be here anymore, people are too cruel (2011).
Media: Photographic scan of collage on high gloss acid free photo paper with cotton thread, montage.
Examples of 8 from 40 US prints.
Size: A4.

Title: I don’t want to be here anymore, people are too cruel (2011).
Media: Photographic scan of collage on high gloss acid free photo paper with cotton thread, montage.
Examples of 8 from 40 US prints.
Size: Each panel A4.

2018 CrossXpollinatioN Exhibition - Journey's

Marie-Therese has been invited to be a 'Feature Artist' at the '2018 CrossXpollinatioN' exhibition which is themed 'Journey's'. Her ArtCloth Installation 'Timelines: An Environmental Journey' will be exhibited at the Colac Otway Performing Arts & Cultural Centre, Colac, Victoria from the 7th - 29th July 2018. The installation will feature works employing her signature MultiSperse Dye Sublimation (MSDS) technique on synthetic fibres.Click on the image to see how the Gondwana II was created.

Art Quill Studio @ Sydney Craft & Quilt Fair.

2018 Sydney Craft & Quilt Fair at the International Convention Centre, Sydney, from the 20th – 24th June.Art Quill Studio can be found at stand no. G29_LP1 where my unique and contemporary hand dyed, hand painted and hand printed ArtCloth fabric lengths, fat quarters, fabric samplers and scarves will be available as well as my one-off/limited edition digitally designed ArtCloth fabric lengths.Click on the image to view some of my fabric lengths and the techniques used to make them.

I have uploaded a new Glossary on my blogspot.The Glossary of Paper, Photography, Printing, Prints and Publication Terms is highly focused, containing definitions and terms pertinent to the specific categories in the title. Click on the image to access it!

MEMORIESWoven Heritage Exhibition

Marie-Therese's ArtCloth print, 'Memories' is included in the Zayed University Permanent Collection Dubai, United Arab Emirates. Click on the image to read about Marie-Therese's artwork/technique which was previously exhibited at a solo exhibition at Sydney's Eden Garden Gallery.

About Me

I work full time as a studio artist, researcher, author, curator, speaker and tutor. I am also the Director of Art Quill Studio, The Education Division of Art Quill & Co. Pty. Ltd. at Arcadia Vale, NSW, Australia. I teach as a casual lecturer at The University of Newcastle (Australia) and I am the former co-editor of Textile Fibre Forum art magazine.

Employing my signature techniques I specialize in the area of ArtCloth, artist printmaker books and limited edition prints.

Followers

My Most Visited Posts"When Rainforests Ruled" - ArtCloth Exhibition

My Scarves @ The Australian Craft Awards

My unique, hand dyed and printed silk rayon velvet and pashmina scarves are available for purchase. To purchase a scarf please contact - studio@artquill.com.au.Click on the image above to see my velvet ArtCloth scarves.

Welcome to Art Quill Studio

Art Quill Studio is a trademark of Art Quill & Co P/L, which is an Australian Company with no subsidiaries outside of Australia.

This blog will be dedicated to arousing world wide interest in: (a) using the medium of cloth to create a work of art; (b) promoting works on paper; (c) exploring concepts that are the basis of my current artworks; (d) offering opinions on art issues; (e) providing art resources to the public at large.